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Scale 111: "AROian"

Scale 111: AROian, Ian Ring Music Theory

Bracelet Diagram

The bracelet shows tones that are in this scale, starting from the top (12 o'clock), going clockwise in ascending semitones. The "i" icon marks imperfect tones that do not have a tone a fifth above. Dotted lines indicate axes of symmetry.

Tonnetz Diagram

Tonnetz diagrams are popular in Neo-Riemannian theory. Notes are arranged in a lattice where perfect 5th intervals are from left to right, major third are northeast, and major 6th intervals are northwest. Other directions are inverse of their opposite. This diagram helps to visualize common triads (they're triangles) and circle-of-fifth relationships (horizontal lines).



Cardinality is the count of how many pitches are in the scale.

6 (hexatonic)

Pitch Class Set

The tones in this scale, expressed as numbers from 0 to 11


Forte Number

A code assigned by theorist Allen Forte, for this pitch class set and all of its transpositional (rotation) and inversional (reflection) transformations.


Rotational Symmetry

Some scales have rotational symmetry, sometimes known as "limited transposition". If there are any rotational symmetries, these are the intervals of periodicity.


Reflection Axes

If a scale has an axis of reflective symmetry, then it can transform into itself by inversion. It also implies that the scale has Ridge Tones. Notably an axis of reflection can occur directly on a tone or half way between two tones.



A palindromic scale has the same pattern of intervals both ascending and descending.



A chiral scale can not be transformed into its inverse by rotation. If a scale is chiral, then it has an enantiomorph.

enantiomorph: 3777


A hemitone is two tones separated by a semitone interval. Hemitonia describes how many such hemitones exist.

4 (multihemitonic)


A cohemitone is an instance of two adjacent hemitones. Cohemitonia describes how many such cohemitones exist.

2 (dicohemitonic)


An imperfection is a tone which does not have a perfect fifth above it in the scale. This value is the quantity of imperfections in this scale.



Modes are the rotational transformations of this scale. This number does not include the scale itself, so the number is usually one less than its cardinality; unless there are rotational symmetries then there are even fewer modes.


Prime Form

Describes if this scale is in prime form, using the Starr/Rahn algorithm.



Indicates if the scale can be constructed using a generator, and an origin.


Deep Scale

A deep scale is one where the interval vector has 6 different digits, an indicator of maximum hierarchization.


Interval Structure

Defines the scale as the sequence of intervals between one tone and the next.

[1, 1, 1, 2, 1, 6]

Interval Vector

Describes the intervallic content of the scale, read from left to right as the number of occurences of each interval size from semitone, up to six semitones.

<4, 3, 3, 2, 2, 1>

Proportional Saturation Vector

First described by Michael Buchler (2001), this is a vector showing the prominence of intervals relative to the maximum and minimum possible for the scale's cardinality. A saturation of 0 means the interval is present minimally, a saturation of 1 means it is the maximum possible.

<0.8, 0.5, 0.6, 0, 0.4, 0.333>

Interval Spectrum

The same as the Interval Vector, but expressed in a syntax used by Howard Hanson.


Distribution Spectra

Describes the specific interval sizes that exist for each generic interval size. Each generic <g> has a spectrum {n,...}. The Spectrum Width is the difference between the highest and lowest values in each spectrum.

<1> = {1,2,6}
<2> = {2,3,7}
<3> = {3,4,8,9}
<4> = {5,9,10}
<5> = {6,10,11}

Spectra Variation

Determined by the Distribution Spectra; this is the sum of all spectrum widths divided by the scale cardinality.


Maximally Even

A scale is maximally even if the tones are optimally spaced apart from each other.


Maximal Area Set

A scale is a maximal area set if a polygon described by vertices dodecimetrically placed around a circle produces the maximal interior area for scales of the same cardinality. All maximally even sets have maximal area, but not all maximal area sets are maximally even.


Interior Area

Area of the polygon described by vertices placed for each tone of the scale dodecimetrically around a unit circle, ie a circle with radius of 1.


Polygon Perimeter

Perimeter of the polygon described by vertices placed for each tone of the scale dodecimetrically around a unit circle.


Myhill Property

A scale has Myhill Property if the Distribution Spectra have exactly two specific intervals for every generic interval.



A scale is balanced if the distribution of its tones would satisfy the "centrifuge problem", ie are placed such that it would balance on its centre point.


Ridge Tones

Ridge Tones are those that appear in all transpositions of a scale upon the members of that scale. Ridge Tones correspond directly with axes of reflective symmetry.



Also known as Rothenberg Propriety, named after its inventor. Propriety describes whether every specific interval is uniquely mapped to a generic interval. A scale is either "Proper", "Strictly Proper", or "Improper".


Heteromorphic Profile

Defined by Norman Carey (2002), the heteromorphic profile is an ordered triple of (c, a, d) where c is the number of contradictions, a is the number of ambiguities, and d is the number of differences. When c is zero, the scale is Proper. When a is also zero, the scale is Strictly Proper.

(34, 9, 55)

Coherence Quotient

The Coherence Quotient is a score between 0 and 1, indicating the proportion of coherence failures (ambiguity or contradiction) in the scale, against the maximum possible for a cardinality. A high coherence quotient indicates a less complex scale, whereas a quotient of 0 indicates a maximally complex scale.


Sameness Quotient

The Sameness Quotient is a score between 0 and 1, indicating the proportion of differences in the heteromorphic profile, against the maximum possible for a cardinality. A higher quotient indicates a less complex scale, whereas a quotient of 0 indicates a scale with maximum complexity.



This scale has no generator.

Common Triads

These are the common triads (major, minor, augmented and diminished) that you can create from members of this scale.

* Pitches are shown with C as the root

Triad TypeTriad*Pitch ClassesDegreeEccentricityCloseness Centrality
Diminished Triads{0,3,6}000

The following pitch classes are not present in any of the common triads: {1,2,5}

Since there is only one common triad in this scale, there are no opportunities for parsimonious voice leading between triads.


Modes are the rotational transformation of this scale. Scale 111 can be rotated to make 5 other scales. The 1st mode is itself.

2nd mode:
Scale 2103
Scale 2103: MURian, Ian Ring Music TheoryMURian
3rd mode:
Scale 3099
Scale 3099: TIXian, Ian Ring Music TheoryTIXian
4th mode:
Scale 3597
Scale 3597: WIJian, Ian Ring Music TheoryWIJian
5th mode:
Scale 1923
Scale 1923: LULian, Ian Ring Music TheoryLULian
6th mode:
Scale 3009
Scale 3009: SUVian, Ian Ring Music TheorySUVian


This is the prime form of this scale.


The hexatonic modal family [111, 2103, 3099, 3597, 1923, 3009] (Forte: 6-Z3) is the complement of the hexatonic modal family [159, 993, 2127, 3111, 3603, 3849] (Forte: 6-Z36)


The inverse of a scale is a reflection using the root as its axis. The inverse of 111 is 3777

Scale 3777Scale 3777: YARian, Ian Ring Music TheoryYARian


Only scales that are chiral will have an enantiomorph. Scale 111 is chiral, and its enantiomorph is scale 3777

Scale 3777Scale 3777: YARian, Ian Ring Music TheoryYARian


In the abbreviation, the subscript number after "T" is the number of semitones of tranposition, "M" means the pitch class is multiplied by 5, and "I" means the result is inverted. Operation is an identical way to express the same thing; the syntax is <a,b> where each tone of the set x is transformed by the equation y = ax + b

Abbrev Operation Result Abbrev Operation Result
T0 <1,0> 111       T0I <11,0> 3777
T1 <1,1> 222      T1I <11,1> 3459
T2 <1,2> 444      T2I <11,2> 2823
T3 <1,3> 888      T3I <11,3> 1551
T4 <1,4> 1776      T4I <11,4> 3102
T5 <1,5> 3552      T5I <11,5> 2109
T6 <1,6> 3009      T6I <11,6> 123
T7 <1,7> 1923      T7I <11,7> 246
T8 <1,8> 3846      T8I <11,8> 492
T9 <1,9> 3597      T9I <11,9> 984
T10 <1,10> 3099      T10I <11,10> 1968
T11 <1,11> 2103      T11I <11,11> 3936
Abbrev Operation Result Abbrev Operation Result
T0M <5,0> 1131      T0MI <7,0> 2757
T1M <5,1> 2262      T1MI <7,1> 1419
T2M <5,2> 429      T2MI <7,2> 2838
T3M <5,3> 858      T3MI <7,3> 1581
T4M <5,4> 1716      T4MI <7,4> 3162
T5M <5,5> 3432      T5MI <7,5> 2229
T6M <5,6> 2769      T6MI <7,6> 363
T7M <5,7> 1443      T7MI <7,7> 726
T8M <5,8> 2886      T8MI <7,8> 1452
T9M <5,9> 1677      T9MI <7,9> 2904
T10M <5,10> 3354      T10MI <7,10> 1713
T11M <5,11> 2613      T11MI <7,11> 3426

The transformations that map this set to itself are: T0

Nearby Scales:

These are other scales that are similar to this one, created by adding a tone, removing a tone, or moving one note up or down a semitone.

Scale 109Scale 109: AMSian, Ian Ring Music TheoryAMSian
Scale 107Scale 107: ANSian, Ian Ring Music TheoryANSian
Scale 103Scale 103: APUian, Ian Ring Music TheoryAPUian
Scale 119Scale 119: SMOian, Ian Ring Music TheorySMOian
Scale 127Scale 127: Heptatonic Chromatic, Ian Ring Music TheoryHeptatonic Chromatic
Scale 79Scale 79: APPian, Ian Ring Music TheoryAPPian
Scale 95Scale 95: ARKian, Ian Ring Music TheoryARKian
Scale 47Scale 47: AGOian, Ian Ring Music TheoryAGOian
Scale 175Scale 175: BEWian, Ian Ring Music TheoryBEWian
Scale 239Scale 239: BIKian, Ian Ring Music TheoryBIKian
Scale 367Scale 367: Aerodian, Ian Ring Music TheoryAerodian
Scale 623Scale 623: Sycrian, Ian Ring Music TheorySycrian
Scale 1135Scale 1135: Katolian, Ian Ring Music TheoryKatolian
Scale 2159Scale 2159: NEYian, Ian Ring Music TheoryNEYian

This scale analysis was created by Ian Ring, Canadian Composer of works for Piano, and total music theory nerd. Scale notation generated by VexFlow and Lilypond, graph visualization by Graphviz, audio by TiMIDIty and FFMPEG. All other diagrams and visualizations are © Ian Ring. Some scale names used on this and other pages are ©2005 William Zeitler ( used with permission.

Pitch spelling algorithm employed here is adapted from a method by Uzay Bora, Baris Tekin Tezel, and Alper Vahaplar. (An algorithm for spelling the pitches of any musical scale) Contact authors Patent owner: Dokuz Eylül University, Used with Permission. Contact TTO

Tons of background resources contributed to the production of this summary; for a list of these peruse this Bibliography. Special thanks to Richard Repp for helping with technical accuracy, and George Howlett for assistance with the Carnatic ragas.